Creative Arts Emmys Round-Up

Psyop and Jamie Caliri both receive a Creative Arts Emmys

Creative Arts Emmys Round-Up

This last Saturday night in LA, the 2009 Creative Arts Emmys were handed out. Amongst the many winners were some regularly featured on Motionographer.

This includes Psyop‘s big win for Best Commercial with “Heist” for Coke (directed by Todd Mueller and Kylie Matulick) and Duck’s Jamie Caliri with his Outstanding Main Title Design win for The United States of Tara.

Congrats to all the winners—there was some serious competition.

Candeland/Passion: Rock Band “Outro”

Pate Candeland and Passion Pictures follow up their amazing Beatles: Rock Band Intro with this Outro!

Hornet Signs PetPunk

Hornet signs Lithuanian Directing-duo, PetPunk

Sean Pecknold – Grizzly Bear ‘While You Wait for the Others’

Sean Pecknold (aka Grandchildren) is back with a new music video inspired by Jan Švankmajer, Hospital Brut, 60′s magazines, and Tintin books. I’m loving the joyful harmonizing vocals matched with the retro color palette and signature whimsical stop-motion animation. Style frames courtesy of Pecknold after the jump.

For previous Grandchildren exploits, check out White Winter Hymnal, Mykonos, and Chains, Chains, Chains.

Credits

Plush new reel from Teddy Gore

Plush new reel from Teddy Gore.

5′th Annual Typophile Film Festival: Opening Title

If you love typography, look no further. Handmade by students and faculty at Brigham Young University (BYU), the opening-title for the 5′th annual Typophile Film Festival, is a bona fide type de force. Uniquely inspired by the 5 Senses, the designers stir up a theme that describes how sight, hearing, taste, smell, and touch inform human creativity. Like a game of dress-up, each of the senses is visually fitted in it’s own swathe of tactility – thumbing their nose at squeaky-clean CG, and relying entirely on raw materials. Its means are thrifty, but in scope, ambitious. The result is authentic.

Naturally, the common denominator is typography, and like a buffet of sorts, there is something here for everybody. From sans serifs to scripts, the contrast of typefaces are strung together so cannily that the graphical mishmash makes you feel like you’re staring into a bowl of alphabet soup. Devoid of superficial extravagance, the whole piece has a sense of frugality about it; an economy of form, that with such wide eyed (student) endeavors , makes you feel warm and fuzzy, or genuinely, proud to be a designer. Easily, that’s as good as it gets.

True, that for all its inherent qualities, a piece of such prudent and exceptional means is sure to inspire. False, that for all its inherent, accessible qualities, a work like this is a piece of cake. Frankly, in the nature of great work, the many designers who created this opening title made it look easy. In honesty, this piece is a labor of love, and born from the passion, grunt work, and elbow grease of Brent Barson (Creative Director, Faculty member), and over a dozen young designers. The team made a conscious decision to avoid CG, and in turn, conceive a work on the flip side of high-end. When the dust settles, the effect, with all the Astroturf, Play-Doh, and Jell-O bouncing typography, is unabashedly innocent, and playfully inviting; coming home to what Motion Graphics used to be all about; pure, unadulterated fun.

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